6 posts tagged “springsteen”
So, naturally, I will be commenting on the great new Bruce album, Magic, in the coming days and/or weeks. However, until then, here's a really good article from this weekend's New York Times about it. I really like A.O. Scott as a film critic--it is cool to see him write about music here.
Click here for the article that makes it even more painful that I couldn't get tickets for the LA shows!
(And, if you're really into reading about all of this, here's another great article. Admittedly, I may be the only one who needs two, but still...)
It has been a long, long, long time since I have posted, but after seeing this guy last night, I was reminded of the blog, and the thousands of readers left in the cold by my absence. Some day, I'll write about my mystical journey that has kept me from writing on here, but for now, the matter at hand.
Last night, we went to my favorite spot for music in LA, Largo, for a night of "Songs of Protest." A really interesting night, with lots of great music--it was the closest to a hootenany I think I've ever been to...plus, Victoria Williams, one of my favorites, played a couple of songs. (My only complaint is that, the way it was advertised, it made it seem like she was going to be more of the "featured" artist of the night, as opposed to a "guest," but, as I enjoyed the rest of the performers, it was OK...) Anyway, in thinking about protest music, I've been thinking all morning about my current, favorite "protest" songs. That's a loose term, to say the least (I think these are really more "politically relevant," perhaps), but here are a few that I'm actively listening to, in no particular order...
Sharon Jones and the Dap-Kings, "This Land is Your Land." Not only is Sharon Jones one of the best live performers I've ever seen, and this is a great version of the song.
Bruce Springsteen, "How Can a Poor Man Stand Such Times and Live?" A fantastic version from the recent Live in Dublin CD. This is an old Blind Alfred Reed song, with, in folk tradition, has some added material, written after Katrina. It doesn't take a lot of reading between the lines to know who this is about: He took a look around gave a little pep talk, said "I'm with you" then he took a little walk.
...and, hell, while we're talking about it, this is an amazing version of "Eyes on the Prize" from the same collection--here, as a duet with Mark Anthony Thompson.
Randy Newman, "Louisiana." This is an old one, but I've been playing catch up with Randy Newman as of late. Dylan played this on his radio show, and while it isn't overtly political, the echoes are obvious. This is a recent, solo version, and it gives me goosebumps.
Patton Oswalt, "The Dukes of Hazard" and "Alternate Earth." Not protest "music," of course, but these sure do make me laugh. It's a sign of amazing stand up comedy when you can listen to it a bunch of times and not get bored with it.
And, of course, there's this...
For years, I've had to defend my love of Springsteen to indie-rock characters (think Jack Black in High Fidelity). Of course, there have been the occasional Bruce concessions--everyone loves Nebraska, for example. But overall, I've always had to explain why Springsteen is, in fact, worth checking out. This makes the latest trend I've noticed (along with a number of rock journalists, of course) all the more sweet. It appears that Springsteen and the E Street Band are starting to pop up over and over as an obvious influence on newer bands. I first noticed it on the Killers single "When You Were Young," which (even they admit) is an attempt to write a Springsteen-esque song. However, as of late, the E Street influence keeps rearing its head on decidedly more indie-cred-rich bands.
Take, for instance, the lead off track to the Hold Steady's Boys and Girls in America. Listen to the whole song--that piano break in the middle is straight out of Jersey, circa 1975.
Now, listen to this brand new Arcade Fire song, also with notable Springsteen tones.
Nice to see this development, to say the least. While we're mentioning it, too, it's worth noting a great album in this style that came out a couple of years ago--Marah's Kids in Philly, which did wonders with the E Street Sound, as well.
And, if you're wondering what it was, exactly, that influenced these bands, check out this, this, and this (all from the recently released "Live at Hammersmith" DVD).
There are so many videos on YouTube that I've almost shut down to it...I could spend days watching cool concert performances. Someone just shared this with me, though, and as it is one of my all-time favorite songs in a great, recent, performance, I thought I'd share.
My previous "Best Of" list concerning music was focused solely on albums. I'd like to take a moment to discuss other music items of note from this past year.
1. "Theme Time Radio Hour With Your Host, Bob Dylan." Dylan's radio show is, all in all, the greatest music development of the past year. It continues the story that began with the publication of his wonderful memoir Chronicles, where we all get to see (to use an old phrase of his, of course), Another Side of Bob Dylan. Back when Chronicles came out, I was almost nervous to read it, that it would bust up my mythic vision of the enigma who somehow channeled the gods into lyrics. In the end, the book showed that he was just a normal person (so to speak), albeit one intensely engaged in his surroundings, times, and influences. The radio show continues this idea--it shows us how someone of Dylan's talents has taken it all in over the past 65 years. And, he's funny. Who knew we'd hear Bob Dylan ever say "One guys says 'I miss my mother-in-law," and the other guy says 'Aim lower." Which reminds me--my favorite episodes so far are probably "Mother," "Devil," and "School." I would bet a resourceful person could locate nearly all of the episodes (it's up to 30 at this writing) online somewhere...
2. Sharon Jones and the Dap-Kings live at the Henry Fonda Music Box. I've already written about this show here, but it's fresh in my mind.
3. Bruce Springsteen and the Seeger Sessions Band (Two Items). This is a tie, and interestingly, I wasn't at either of these events. First, the Springsteen show in Jersey back in July, where my folks went and called me repeatedly to hold their phone up so I could hear the songs. Getting to hear the songs was great, of course, but more enjoyable for the fact that my parents were that into the show. Second, the show at Jazzfest in New Orleans, where my brother (did everyone in my family get to see him this year but me? Yes.) did the same, holding the phone up. He stopped early, though, and later he told me that the show (the first Jazzfest since Katrina) was the most emotional he'd ever seen, the sort of cathartic, uplifting musical event you hear about. Here are some clips from that show: this, this (dedicated to "President Bystander"), and this. The clip of "My City of Ruins" was edited by a fan, not the band, but it is a good reminder of what happened there.
4. Gillian Welch, David Rawlings, Jon Brion, and Nickelcreek at Largo. If you've never been to Largo, and you're in the LA area, it is worth seeking out. It is easily my favorite place for a show (I've seen countless shows there: Aimee Mann, Michael Penn, Colin Hay, The Naked Trucker, Victoria Williams, Jon Brion, Paul F. Tompkins...the list goes on). A few months ago, I got a table reservation for a show that was just listed by the artists' first names. I was happy to find out who it was. I could write pages on this one show, but here's the quick version: three hours long, five (!) Dylan covers, a new Gillian Welch song that stands among her best, covers of the Beatles, Jefferson Airplane, and Cyndi Lauper (a medley, no less, after an audience request). Unreal.
5. Tony Bennett Sings "San Francisco" Alone with the Piano. His TV special "An American Legend" was packed full of production numbers and such, but the final performance was simply Bennett singing his signature song all alone, accompanied by only a piano. If you're wondering why people revere his voice, find that performance.
6. Late Addition to My "Best Albums" List--TV on the Radio, Return to Cookie Mountain. How did I not get this album until last week? This is great, great music. I tried thinking of one of those typical "sounds-like-such-and-such-combined-with-such-and-such," but I had so many "such-and-suches" to mention, it became ridiculous. While listening to it earlier tonight, I kept picturing a huge, lumbering robot with huge blenders for ears and a boombox for a mouth. And maybe Peter Gabriel in its stomach. Obviously, it's hard to describe. I will say, though, that it reminds me of the feeling I had the first time I listened to Kid A. It makes me want to go write poems and/or bang on pots and pans, and I mean that as the highest of compliments.
Now that everyone in the world has email, and nearly as many people have blogs, the traditional year-end "Best Of" list is a bit overdone. Still, I enjoy reading, and creating, them. I got into it thanks to my dear friend at Mr. Stinkyhair, who I'm sure will post his own soon...
I'm starting with music here, as I still have a couple of movies to catch up on. I'm sure there are some choices here some may disagree with, and some are predictable if you know me. Still, if Dylan and Springsteen are amazing, why should I shy away from mentioning them? Here goes (with the benefit of YouTube clips, even)..
BEST OF 2006 Albums
Modern Times, Bob Dylan
If I was some sort of over-the-top Dylan-obsessive analyst, I’d say this: Time Out of Mind was someone realizing the ship is going to go down, Love and Theft was someone dancing as it sank, and Modern Times is someone learning to live with the fact that the ship didn’t actually sink—but it could go at any minute. That would make sense to me, at least, if I was some sort of character as mentioned earlier. Critics tend to go so over-the-top in their praise of Dylan these days that I don’t think anything he releases gets a true listen, but that said, this is an amazing album. I still get goosebumps when “Ain’t Talkin” ends…and then it starts back at the beginning.
The Seeger Sessions, Bruce Springsteen
When I heard Springsteen was releasing an all-covers folk album, I was (naturally) excited, but expected an ultra-earnest sort of record. I had no idea it would be this—an honest-to-goodness fun album. And not just fun in a sort of “let’s-bring-back-these-old-timey-tunes” sort of way. By combining all sorts of traditional music (folk, blues, jazz, bluegrass, gospel, etc.) he came up with something entirely fresh. Listen to “Oh Mary Don’t You Weep” if you don’t believe me. There was certainly a contingent of Bruce fans who thought this was just an annoying detour, but they’re morons.
Orphans, Tom Waits
I’ve admired everything Waits has released, but this one really hit me in the gut since it was released last month. It’s reminded me of why I love him so much in the first place. Hard to believe this was originally the typical sort of “B-sides” record, as it hangs together so nicely thematically (the “Brawlers, Bawlers, and Bastards” CD labels help, of course). Much has been made of the “Road to Peace” song here, as well it should.
Whatever People Say I Am, That’s What I’m Not, The Arctic Monkeys
I’m sure more eloquent people than me have discussed the speed the internet has brought to our “Hype-Love-Backlash-Hate-Meh” culture for music, so I’ll spare you. If you take this album out of all of the hype (it seemed like the British press treated this like Jesus, John Lennon, and Joe Strummer coming back to earth in a chariot) and backlash, you’ll just have a great, kick-ass album. I can’t think of another CD this year that always woke me up with the first few chords like this—and I get up at 4:00 am for work.
3121, Prince
Prince’s previous album, Musicology, was supposedly his big “return to form” record, but I never really warmed to it. Aside from an unfortunate title, I didn’t find it better or worse than anything else released during his hazy days of the late 90’s/early aughts. This, however, gets me on every level—the funk tracks, the dance tracks, the old-school R&B tracks, the 80’s pop tracks, and yes, even the religious tracks. No, it’s not Sign O’ the Times, but it is easily his best (and most consistent) since the “Symbol album,” or even Parade.
The Information, Beck
Beck’s previous album, Guero, was supposedly his big “return to form” record, but I never really warmed to it. (Plus, why would he need to “return to form” after Sea Change? It was one of his best. But I digress). This one, however, gets me on every level. Also, I like how the Burroughs-approach lyrics are still in tact, but now pull together enough over the album to paint a larger thematic picture.
Boys and Girls in America, The Hold Steady
The reviews were almost too good for this album (I’m anticipating, but hoping against, an Arctic Monkeys-like backlash), but I can see why people like Pitchfork (who is not a “person,” I suppose) went bonkers over it. From the very first song, it’s like being the front row at a great, beer-fueled club show in somewhere. If the morons previously mentioned in the Springsteen blurb above need to fill their E-Street needs while Bruce continues work with the Seeger Sessions band, this is where they should go.
American V, Johnny Cash
It’s nice when an album is actually good, and not just for the sentimentality attached to it. This is great work, with wise song choices. Credit should be given, too, to Rick Rubin’s production, which is just tasteful enough to not draw attention to itself, but not so tasteful to make this sound funereal. “Like the 309” is the perfect song to be Cash’s last original lyrics, “God’s Gonna Cut You Down” sounds like it is coming through the ceiling at you, and it “If You Could Read My Mind” doesn’t make you cry, I worry for you.
I am Not Afraid of You and I Will Beat Your Ass, Yo La Tengo
The first time I heard Yo La Tengo, it was in a smoky, spinning room. By the end of the first song on this, I was right back there, remembering why this band is so great. I particularly like how the longer, guitar-soaked songs play off the tighter, shorter songs.
The Eraser, Thom Yorke
There are certainly people who have grown tired of the blips-n-whistles sound that Yorke is so fond of, but I’m not one of them. The push and pull between the sound of possessed computers and his floating voice never gets old to me. I’m hard pressed to think of anyone who evokes so much in my head with his or her voice.
Endless Wire, The Who
I know many will disagree with me on this—a friend said to me last night, even, that this probably shouldn’t have even been released…I disagree. Leave it to cranky, crazy, cantankerous Pete Townsend to pull this: a flawed, but fantastic “Who” record. It blatantly pulls from past Who-glory (those Baba O’Reilly sounds…), but when it does it this well, I don’t care. It’s not perfect, of course (what’s with that Grover-voice on “In the Ether?”), but the positives outweigh the negatives, and every time I listen, it gives me that fist-pumping Who-rush I remember from their old stuff (listen to how Daltrey and Townsend work off each other on “Black Widow Eyes” for proof). Plus, Daltrey’s vocal work deserves an Oscar—his singing is fantastic, emotive, and strong. Instead of writing a bunch of songs about aging (which is what I kind of expected them to do, as so many boomer artists do these days), his voice does all the talking. And “God Speaks of Marty Robbins” may very well be one of my top 10 Who songs, period. That’s a good segue to another list, perhaps.
